Alexandros Markeas: generative improvisation with new technologies applied to musi...
| Full text | |
| Author(s): |
Cristian Borges
[1]
Total Authors: 1
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| Affiliation: | [1] Universidade de São Paulo - Brasil
Total Affiliations: 1
|
| Document type: | Journal article |
| Source: | Galáxia (São Paulo); v. 48, 2023-05-29. |
| Abstract | |
Abstract Through a panoramic analysis of the presence of dance in cinema, from the beginning to the contemporary production, we realize that it can emerge sometimes as an integral and structuring part of the film, in the musical genre, and sometimes as a contrasting and disruptive element, in non-musical films. While sketching an aesthetic of corporeal movements in audiovisual works, we assume that sound cinema, in a way, silences the body dynamics on the screen, by focusing on speech and the meaning of words, eliminating or considerably reducing all the visual and semantic powers contained in the incredible expressive rhetoric of bodies. Can dance, the natural shelter of a certain irrational gestural impulse, serve, as Béla Balázs proposed, to make us be affected by a film in a direct and unequivocal way, as if it were music? (AU) | |
| FAPESP's process: | 21/12417-0 - Film and dance: an analysis of the crossroads between the arts of movement on two axes |
| Grantee: | Cristian da Silva Borges |
| Support Opportunities: | Regular Research Grants |